Something about Edward Lear

From The Young and Field Literary Readers. Book Three. By Ella Flagg Young and Walter Taylor Field. Boston: Ginn and Company, 1914; available through Google Books:

EDWARD LEAR AND HIS NONSENSE SONGS SOMETHING ABOUT EDWARD LEAR Mrs Jones was calling on Mamma one Harold was curled up in a chair had a broad grin upon his face and now he would shake with laughter What is the matter with the child Jones He is reading some of Edward Lear's verses Mamma If they are as funny as that I should like them said Mrs Jones

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The Brothers Dalziel on Edward Lear

The Brothers Dalziel. A Record of Fifty Years’ Work in Conjunction with Many of the Most Distinguished Artists of the Period – 1840-1890. London: Methuen & Co., 1901, pp. 317-8.

Early in the Sixties we made the acquaintance of Edward Lear, who was a landscape painter of great distinction, a naturalist, a man of high culture, and a most kind and courteous gentleman. He came to us bringing an original chromo-lithographic copy of his “Book of Nonsense” published some years before by McLean of the Haymarket. His desire was to publish a new and cheaper edition. With this view he proposed having the entire set of designs redrawn on wood, and he commissioned us to do this, also to engrave the blocks, print, and produce the book for him. When the work was nearly completed, he said he would sell his rights in the production to us for £100. We did not accept his offer, but proposed to find a publisher who would undertake it. We laid the matter before Messrs. Routledge & Warne. They declined to buy, but were willing to publish it for him on commission, which they did. The first edition sold immediately. Messrs. Routledge then wished to purchase the copyright, but Mr. Lear said, “Now it is a success they must pay me more than I asked at first.” The price was then fixed at £120, a very modest advance considering the mark the book had made. It has since gone through many editions in the hands of F. Warne & Co.

Lear told us how “The Book of Nonsense” originated. When a young man he studied very [318] much at the Zoological Gardens in Regent’s Park. While he was engaged on an elaborate drawing of some “Parrots,” a middle-aged gentleman used to come very frequently and talk to him about his work, and by degrees took more and more interest in him. One day he said, “I wish you to come on a visit to me, for I have much that I think would interest you.” The stranger was the Earl of Derby. Lear accepted the invitation, and it was during his many visits at Knowsley that these “Nonsense” drawings were made, and the inimitable verses written. They were generally done in the evening to please the Earl’s young children, and caused so much delightful amusement that he redrew them on stone, and published them as before stated. That is how this clever, humorous book came into existence; a work that will cause laughter and pleasure to young and old for all time. John Ruskin says of Lear’s “Book of Nonsense”:

“Surely the most beneficent and innocent of all books yet produced is the ‘Book of Nonsense,’ with its corollary carols, inimitable and refreshing, and perfect in rhythm. I really don’t know any author to whom I am half so grateful for my idle self as Edward Lear. I shall put him first of my hundred authors.”

The book is available at archive.org.

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Tomfoolery

At long last I have managed to see an episode of Tomfoolery, the 1970-1971 Rankin-Bass show based upon the nonsensical verse and whimsical characters of authors such as Edward Lear, Ogden Nash, Frank Gelett Burgess, and Lewis Carroll.

Thanks to tooktracker for uploading this; also visit the YouTube page for comments.

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A Cubist Romance

Over at 5lines (A limerick a day!) I am publishing a series by Oliver Herford which appeared in the Century Magazine between 1911 and 1913.

Here is another humorous poem which appeared in the same magazine in the June 1930 issue (vol. Vol. LXXXVI, pp. 320-1).

Cubist Romance, title

Text and pictures by OLIVER HERFORD

A SCULPTOR once, in search of fame
(I can’t recall the sculptor’s name),
Turned Cubist, and at once began
A statue on the Cubist plan.

The statue, I need hardly say,
Was something in the Venus way,
And as its form grew bit by bit,
The sculptor fell in love with it.

Then came a wonderful idea:
He named his statue Galatea,
Which, by the way, reminds me that
His own name was Pygmalion Pratt.

One day it chanced Pygmalion came
To read the legend of his name
And hers, and prayed that fiction might
Repeat itself for his delight.

When, lo! the cubic feet of stone
Turned all at once to flesh and bone,
And Galatea’s cubic face
Met his in angular embrace.

Short-lived was Galatea’s bliss;
She soon guessed something was amiss,
And from the wall, in modish dress,
A Gibson girl confirmed her guess.

Cubist Romance, picture 1

“Pygmalion dear,” she cried, “oh, please
Buy me some pretty frills like these!”
Then, meeting his astonished stare,
Blushed to the cube roots of her hair.

Picture the curious crowds they drew
As they strolled up Fifth Avenue!
Think of the modistes asked to drape
Miss Galatea’s cubic shape!

Cubist Romance, picture 2

When Galatea came to see
The sheer impossibility
Of getting clothes, without ado
She took to posing for le nu.

And now she leads (to end my tale)
A model life in Bloomingdale,
Painted and sculptured and adored
By inmates of the Cubist ward.

[The Century. An Illustrated Magazine. Vol. LXXXVI, June 1913, pp. 320-1.]

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Lord Purrpurr Performs Owl and Pussy-Cat

Lord Purrpurr of the Fuzzberrys gives his rendition of Edward Lear’s “Owl and the Pussycat:”

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More on Alice by Unsuk Chin

The International Herald Tribune has a review of Unsuk Chin’s adaptation of Lewis Carroll’s Alice which reveals problems with Achim Freyer’s staging:

One might have deemed the book universally known, but it apparently escaped Freyer’s upbringing in East Germany. He reportedly read it only after agreeing to the project based on his esteem for Chin’s earlier music. But in an interview in the German magazine Rondo he criticized Carroll’s treatment of Alice as obscene and the work’s surrealism as outdated.

Sally Matthews (Alice) and Stefan Schneider (Caterpillar) in “Alice in Wonderland”

And:

A frosty relationship is said to have developed in rehearsals between Freyer and Chin, who in the Süddeutsche Zeitung took a swipe at his staging, calling it constrained.

All reviewers, at least so far, seem to agree on the “fascinating” nature of Chin’s score. From the little I have been able to see in the clips on the Staatsoper site I must say the staging looks fine to me, but it is not difficult to see how it may get boring in a show lasting over two hours.

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Alice in Wonderland by Unsuk Chin

Korean composer Unsuk Chin‘s opera based on Lewis Carroll’s Alice in Wonderland was premiered on 30 June at the Munich festival and has been favourably reviewed in the Guardian and the Los Angeles Times.

The Mad Tea Party

More information, including a photogallery and a video, is available at the Bayerische Staatsoper site.

Parts of the opera were previewed during the 2005 Proms under the title snagS and Snarls and broadcast by BBC Radio 4.

Here is Chin’s own program note:

1 Alice Acrostic
2 Who in the world am I?
3 The Tale-Tail of the Mouse
4 Twinkle, twinkle, little star
5 Speak roughly to your little boy

snagS & Snarls was commissioned by the Los Angeles Opera and is a kind of sketch for the opera Alice in Wonderland, also for the Los Angeles Opera. With the exception of the first piece, its movements are based on scenes from Lewis Carroll’s Alice’s Adventures in Wonderland.

1 Alice Acrostic
Lewis Carroll wrote this poem as a conclusion for his two Alice stories. It is an acrostic in which, reading down, the first letters of each line spell out the name Alice Pleasance Liddell, the girl who inspired the Alice stories. In this poem Carroll recalls, nine years after the event, the boating trip on the River Thames on 4 July 1862, during which he made up and first told some of the Alice adventures to the three Liddell sisters. In the last line of this acrostic, ‘Life, what is it but a dream?’, Carroll was probably making reference to the anonymous canon that even then was popular in England:

Row, row, row your boat
Gently down the stream –
Merrily, merrily, merrily, merrily
Life is but a dream.

2 Who in the world am I?
The text is taken from the chapter ‘The Pool of Tears’, in which Alice has an existential crisis arising from finding herself in a world in which another kind of logic appears to rule. It contains the poem ‘How doth the little crocodile’, which is a parody of a well-known English pious poem of the 18th century.

3 The Tale-Tail of the Mouse
A picture-poem from the chapter ‘A Caucus-Race and a Long Tale’

‘Mine is a long and sad tale,’ said the Mouse, turning to Alice; and sighing. ‘It is a long tail, certainly,’ said Alice, looking down with wonder at the Mouse’s tail … And she kept on puzzling about it while the Mouse was speaking, so that her idea of the tale was something like this …

The music reflects the picture-poem. The phrases begin loudly and become softer and softer; the instruments move upwards quickly: the notes on the pages thereby take on the appearance of a mouse’s tail.

4 Twinkle, twinkle, little star
The punning text is a series of variations upon the Mad Hatter’s song ‘Twinkle, twinkle, little bat’, from the chapter ‘A Mad Tea-Party’. This text is in turn a parody of the poem ‘Twinkle, twinkle, little star’ by Ann and Jane Taylor. (The Carroll expert Martin Gardner has noted that Carroll was probably making another joke since ‘bat’ was what one well-known mathematics professor of Carroll’s acquaintance was called by his students.) The people and animals alluded to in the text, including Bill, Pat, and Ed, appear elsewhere in Alice’s Adventures in Wonderland.

5 Speak roughly to your little boy
This scene is based on the chapter ‘Pig and Pepper’ and takes place in the Duchess’s kitchen, where the Duchess sings a grotesque lullaby to a baby who is later transformed into a pig. In the midst of it, the cook throws cooking pots and other kitchen utensils at the Duchess and others present, which is represented musically by an expanded percussion section that includes wineglasses, cutlery and cooking pots.

According to the author Martin Gardner, the text ‘Speak roughly to your little boy’ parodies a nowforgotten English religious instructional poem, ‘Speak gently!’, that was written by one of Carroll’s contemporaries. In addition I have inserted texts from Carroll’s stage version of Alice, which give the scene a ritualistic quality.

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The Bong Tree – Again

Over at the Language Log Bill Poser has a post, prompted by the recent Supreme Court decision on “Bong hits 4 Jesus,” on the different meanings of “bong”.

In a previous post I connected the “bong tree” to the Buddha’s “bo tree,” or Indian fig tree. The etymology provided for “bong” as a smoking implement in Wikipedia — from Thai baung meaning (1) marijuana pipe, a bong, and (2) a section of hollow bamboo stalk (see the dictionary entry at thai-language.com) — also refers to some kind of tree, though I think the meanings listed by Poser have little or no relevance for Edward Lear’s “The Owl and the Pussy-Cat.”

Among the many posts Language Log has devoted to the case, you should also read The Supreme Court Fails Semantics, which discusses “utterances that have no semantic interpretation,” i.e. nonsense.

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Another Owl and Pussy-Cat Reading

Edward Lear’s most famous poem is performed by the “amazing” Kazzy, with limited animation:

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The Dong with a Luminous Nose: A Theatrical Adaptation

The Dong with a Luminous Nose: poster

From an e-mail from Shipra Ogra, Administrator of the London Bubble Theatre Company:

London Bubble Theatre company is showing Edward Lear’s “The Dong with a Luminous Nose” as part of theatre in the parks we do every summer. We will take Edward Lear’s much-loved nonsense poem and inject a touch of reality to create an open-air production full of humour. The concept of touring in the parks is a part of our mission of making theatre accessible to people who do not usually engage with the medium. We are one of the first theatre companies in London to show theatre in non-theatre spaces and have been doing so successfully for over 30 years.

The show will open on July 4 at Sydenham Wells Park and then move to several different parks in London. For a full schedule and further details visit the company’s web site.

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